★★★★★

“The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it.”

In case you’ve been living under a rock, this show is a Covid delayed U.K. premiere of the smash hit US musical, based on the hugely successful film of the same name.

The plot sticks closely to the film. Cady Heron (Charlie Burn) is a new kid at an American high school, having been home schooled in Kenya up until now. She must choose between authentic outsiders, Janis (Baylie Carson) and Damian (Tom Xander), or the poisoned chalice of popularity that comes with being one of ‘The Plastics’. The romance plot is more central than in the film, with Cady’s main motivation being her infatuation with fellow calculus student Aaron (Daniel Bravo).

Mean Girls marks another in a current trend of film to stage adaptations, which seem to be driven, at least in part, by the temptation of an existing fan base. Certainly, as I join a small army of pink clad women (it’s a Wednesday, so we’re all wearing pink) marching towards the theatre, this plan seems to have paid off.

There’s a worry it will feel like a soulless shell of the film. But it doesn’t. The book, written by Tina Fey, who wrote and acted in the film, is smart and witty. It’s updated, with fresh and current jokes (references to Ozempic and Get Ready with Me videos) but keeps the fan favourite one-liners from the film. With clever lyrics by Nell Benjamin and music written by Fey’s husband Jeff Richmond, the show delves further into these characters who are beloved by the fan base.

The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it. Each character has a different musical style which allows the actors to stand out, each thriving in their niche.

Tom Xander as Damian is wondrously campy and fun. Every moment with him is a scene stealer. At one point he steals a mobility scooter, which results in some glorious physical comedy. Baylie Carson smashes it as Janis, standing in for Elena Skye for this performance. It’s a tricky part and they own it, giving Janis her own flair amongst bigger more flamboyant characters. Georgina Castle as the iconic Regina George is fabulously evil, Disney villain meets Instagram influencer. She has a captivating stage presence. Grace Mouat as Karen has fabulous comic timing, and her physical comedy is on point. Also, Zoë Rainey as all three of the ‘grown up’ women dazzles in her multi rolling, turning each caricature up to the max.

Scott Pask’s set design combined with Finn Ross and Adam Young’s video design is as much a nod to the film as the plot. Settings are projected onto huge screens, calling into question that line between film and theatre. Sometimes it’s backdrops, sometimes photos of the cast, of the Burn Book, and sometimes (like in a brilliant evocation of a photocopier) it’s a theatrical wonder. It doesn’t do it for me, but it does feel fresh.

Under this show’s joyous silliness, there’s an important message about female solidarity. It would be interesting to know how it plays for people who don’t know the film. But for fans, and there are many, it’s a delicious night of fetch-y fun.

CLOSE UP – THE TWIGGY MUSICAL at the Menier Chocolate Factory

★★★

“We do also feel light footed and energised such is the fun factor of the production, which boasts an impressive line-up of performers”

The overriding feeling coming out of the theatre having just witnessed “Close-Up: The Twiggy Musical” is of wanting to find the nearest police station to report a missing person. There was once an award-winning author, playwright, comedian, satirist, social commentator, observationist – with an astute and sharp mind. His name is credited in the programme as the writer, but there appears to be little trace of Ben Elton’s involvement, except for a sweeping pastiche of his trademark style here and there. We wonder if he passed the task onto a lazy sixth-former. And then we wonder how the book would have made it through the first week of rehearsals without being questioned by the director… oh hang on – Elton is the director.

Maybe ‘overriding feeling’ is a bit harsh. We do also feel light footed and energised such is the fun factor of the production, which boasts an impressive line-up of performers. It is quite a whirlwind tour of the back story of one Lesley Hornby with a few stopovers at certain landmarks on the way. Much of Twiggy’s life story is already known, but here the chain of events rewinds further still – to her parents meeting in the thirties, surviving the London Blitz and some choice moments of Twiggy’s childhood and schooldays. A retrospective, predominantly narrated by Elena Skye who personifies the iconic image we have of Twiggy, even though the character is reminiscing from today’s perspective.

We witness the professional and the personal. Her serendipitous discovery and rise to fame as a teenage model, her ill-fated relationship with the controlling and self-aggrandising boyfriend/manager, Justin de Villeneuve. Her parent’s support throughout her career, her mother’s depression. Her success on stage and screen, her shadowy moments locked in marriage to the alcoholic screen-star, Michael Whitney. The facts are fascinating and revealing. Many well-known areas are covered but there are insights into the dark corners too, all illuminated by the strong supporting cast and ensemble. Justin de Villeneuve is given a particularly hard time, which Matt Corner takes on with a cheeky, mocking self-deprecation. Darren Day’s self-destructive Whitney has moments of poignancy, which are manifested most strongly in song. The two stand outs are Hannah-Jane Fox and Steven Serlin as Nell and Norman Hornby respectively – Twiggy’s mum and dad.

“Elena Skye certainly knows how to put a song across, and the ensemble numbers are striking”

There is far too much unnecessary cross referencing of the ‘then and now’. Yes, we all know it was ‘different times’ then. The only refreshing twist on this conceit is when the father quips: ‘The show must go on. That’s what they say. Well, at least they did back then’. In that short remark we get a glimpse of the subtle insight that Elton is capable of, with what is a real and relevant indictment of the changing attitudes and their current effects on the theatre industry. But overall, Elton is thrusting over simplified lessons on socio-economic history at us, while glibly exploring issues such as alcoholism or post-natal depression. There is a positively surreal song and dance routine while Nell is receiving electroconvulsive treatment. And then suddenly we find ourselves in a fifties style episode of ‘Grange Hill’.

Despite racing through the song list like an extended medley of hits, there are moments where poignancy can show itself through the musical refrains. Elena Skye certainly knows how to put a song across, and the ensemble numbers are striking. The repertoire is pretty suitable on the whole, with only a few numbers showing the bruises from the shoehorn Elton is so keen on using. Some key cultural moments are glossed over while some are given too much airtime. And two and a half hours in we are suddenly offered a rapid ‘summing up’. Followed by an upbeat song and dance number.

The show does indeed end on a high that is greeted with a standing ovation. They say, ‘don’t kick someone when you’re down’. There is much to fault in this musical but, hey – the show can handle all the flak. It’s a sure-fire hit. And why not? It’s a brilliantly executed five-star show; with top-notch production values, wonderful performances, and a juke-box full of fabulous music. Just a preposterous one-star book.

MEAN GIRLS at the Savoy Theatre

★★★★★

“The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it.”

MEAN GIRLS at the Savoy Theatre

Reviewed on 10th July 2024

by Auriol Reddaway

Photography by Brinkhoff/Mögenburg

Last month’s top shows:

MEAN GIRLS

MEAN GIRLS

CLOSE UP – THE TWIGGY MUSICAL at the Menier Chocolate Factory

★★★

“We do also feel light footed and energised such is the fun factor of the production, which boasts an impressive line-up of performers”

“Elena Skye certainly knows how to put a song across, and the ensemble numbers are striking”

CLOSE UP – THE TWIGGY MUSICAL at the Menier Chocolate Factory

Reviewed on 28th September 2023

by Jonathan Evans

Photography by Manuel Harlan

Previously reviewed at this venue:

Close Up

Close Up